영화 ‘영원’에 나타난 태국의 근대화 양상
Thai Modernized Aspects in the Movie “Eternity”
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This study examined the aspects of Thai modernization through the characters in the Thai film ‘Eternity’. Conflicts between the characters in this film are a key part of the story, and at its roots, there is a historical power relationship between the characters. Among the characters, I analyzed “Upadi” as a new woman, and “Pabo” as a patriarchal authority, and his nephew “Shangmong” showed the transition of modernization. The background of the film, 1933, is when Thailand changed its governance system from absolute monarchy to constitutional monarchy. In the process, Westernized modernization took place, and modern woman such as Upadi appeared. Pabo fascinated by Upadi, who is not a traditional woman. Pabo summoned the 'female' Upadi, a nature that had not been seen before, to the modern 'landscape', gaining a re-recognition of the relationship between the subject and the object in the 'landscape' and standing as a modern subject. Upadi actively expresses interest to Sangmong and hopes to live freely. Such desires are symbolized by the devil that opposes the patriarchal ideology and threatens Pabo's authority. Sangmong shows incompetence, inconsistency, contraction and instability under patriarchy of Pabo like a typical woman supporting her husband. Only after he becomes a madman that he is able to capture the truth he did not want to see, as Foucault said, freeing him from the morals that oppressed him.
Abstract
This study examined the aspects of Thai modernization through the characters in the Thai film ‘Eternity’. Conflicts between the characters in this film are a key part of the story, and at its roots, there is a historical power relationship between the characters. Among the characters, I analyzed “Upadi” as a new woman, and “Pabo” as a patriarchal authority, and his nephew “Shangmong” showed the transition of modernization. The background of the film, 1933, is when Thailand changed its governance system from absolute monarchy to constitutional monarchy. In the process, Westernized modernization took place, and modern woman such as Upadi appeared. Pabo fascinated by Upadi, who is not a traditional woman. Pabo summoned the 'female' Upadi, a nature that had not been seen before, to the modern 'landscape', gaining a re-recognition of the relationship between the subject and the object in the 'landscape' and standing as a modern subject. Upadi actively expresses interest to Sangmong and hopes to live freely. Such desires are symbolized by the devil that opposes the patriarchal ideology and threatens Pabo's authority. Sangmong shows incompetence, inconsistency, contraction and instability under patriarchy of Pabo like a typical woman supporting her husband. Only after he becomes a madman that he is able to capture the truth he did not want to see, as Foucault said, freeing him from the morals that oppressed him.
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